This interior is inspired by a lobby of Chinese Shangri-la Hotel located in Shenzen. It is included in Archinteriors vol. 44 as scene 3. The scene was made in 3ds Max and rendered in V-Ray by Marcin Białecki (Evermotion).
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We included a panoramic 360 HDR with this scene. You can see and manippulate *.jpg version after clicking the image above.
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There are two cameras in the lobby. This is a view from camera 1.
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View from camera 2.
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3ds Max viewport, camera 1. You can enable materials colors in Display Color menu in the top right corner.
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The floor mesh. It is the main mesh, seen in the center of the scene. It is surrounded by another floor ring, that we will show later.
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Floor material.
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Floor material, falloff map settings.
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Floor material, bitmap used for displacement.
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The scene overview. We modeled not only the building, but also a bit of surroundings with curvy road. We also placed a car outside the hotel.
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Isometric view.
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The road mesh.
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The road material.
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The road material, composite map settings.
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The road - diffuse bitmap. the lighter version of this bitmap is used also in bump slot.
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Ground mesh.
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Ground material.
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Ground material - normal map.
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The building mesh.
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The building parts.
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Floor ring.
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Floor ring material.
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Decorative element.
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Relief mesh.
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Decorative element material.
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Vray Material settings.
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Coat material settings.
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there are many lights in the scene. we included ceiling lights, chandelier lights and a mesh light that is placed in hanging ceiling.
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Vray light lister.
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Halogen lamp settings.
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Chandelier mesh.
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Chandelier mesh - second view.
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Chandelier mesh, close-up.
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Chandelier base.
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Chandelier base is made of glass-like material.
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Camera 1 settings.
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Camera 2 settings.
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Render settings.
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RGB output.
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Photoshop post-production, camera 1. First, after RGB layer we added Selective Color layer and we turned "yellow" slider all the way left (-100) in Whites section. The we added highpass filter, refraction layer, light sparks (a subtle glow), and three layers of VrayLightSelect. the next was Specular layer, levels for increased contrast.Specular Gaussian Blur made specular elements more prominent, then we desaturated image a bit and make it lighter with another levels layer.
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Final image - camera 1.
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RGB render - camera 2.
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Photoshop post-production, camera 2. Highpass filter for sharpening the image, then we added refraction and two LightSelect layers. We added specular layer and tweak grading a bit with levels (darken image) and slightly increased (+10) saturation.Then we added LightSparks (subtle glow in lamps areas), another Levels layer (lighten up). Three top layers increase glow in various image areas - near bonsai tree, stairs and ceiling.
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Final render, camera 2.
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